Guide des œuvres d'étudiants — Café Waitress (Jokyū)

Nom Niveau Date

Shimazaki Ryūu, Café Waitress (Jokyū) (1910). Libre de droits.

Informations clés

Artiste: Shimazaki Ryūu wahooart.com/fr/artists/shimazaki-ryuu_fr/
Dates de l'artiste: 1865 – 1937
Peinture: 1910
Dimensions originales: 135 x 56 cm

Copyright Cette œuvre est dans le domaine public. Shimazaki Ryūu est décédé(e) en 1937 ; le droit d'auteur dure 70 ans après le décès de l'artiste, il a donc pris fin en 2007.

Café Waitress (Jokyū) — Shimazaki Ryūu

Quelle est sa dimension ?

L'original mesure 135 × 56 cm (hauteur × largeur), représenté ici à côté d'un adulte de taille moyenne.

Date de création

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1910
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Ombré : la vie de Shimazaki Ryūu (1865–1937) ▲ cette œuvre, 1910

Palette de couleurs

Mesuré à partir de l'image

Couleur principale

Driftwood #a89071

Palette enregistrée

#A89071
#0E0C0C
#CAB899
#846C51

Palette: Earthy La famille de couleurs dominante dans l'image.
Couleur principale: Driftwood
Intensité: Balanced Le degré de saturation et la variété des couleurs, allant d'une teinte unique et atténuée à une multitude de nuances éclatantes.
Contraste: Statement Le degré de variation de la luminosité et de la saturation des couleurs à travers l'œuvre.
Harmonie: Unified Palette L'harmonie des couleurs, de leur contraste à leur parfaite unité.
Luminosité: Bright Le degré de luminosité ou d'obscurité de l'image dans son ensemble, des ombres profondes aux hautes lumières éclatantes.
Saturation: Subtle Color La pureté et l'intensité des couleurs, allant d'un gris presque imperceptible à une vivacité totale.

Café Waitress (Jokyū) — Shimazaki Ryūu

In Shimazaki Ryūu’s usually conservative corpus of bijinga (pictures of female beauties) this work stands out for its novelty and unique setting of a Taishō-period café. The artist has captured a waitress taking a break in a French-style café, though we can be sure the setting is the Ginza district of Tokyo—the only place in Japan at this time with such establishments. She is shown dressed in a dark blue kimono, with bold white floral patterns, partially covered by a Western-style apron. Wiping her face with cloth napkin with one hand, she rests the other on a table with a Western-style ashtray and a set of sauces in a glass bottles. Behind her on ornately carved wooden shelves is an array of variously shaped bottles that we can safely assume hold imported alcoholic beverages. The artist suggests that his subject is a bit tired from a busy shift, but innocent in demeanor, and not depicted as a café waitress (jokyū) who doubled as a female escort as would become more prevalent in paintings of Ginza café scenes in the late 1920s.The artist is capturing both the actual appearance and ambiance of the cafés that were created in the 1910s in the Ginza district. Most notably, in 1911 Café Printemps (Kafe Purantan), Café Lion and Café Paulista were opened, and were still among the nearly twenty Western-style cafés in the area until 1923 when Tokyo was leveled by the Great Kansai Earthquake. Surviving photographs and postcards of the day show what the cafés looked like, and how the waitresses who wore frilled aprons over traditional kimono. They served Western drinks, coffee, and light Western-style meals. At first members only, but eventually open to the public, such cafés were designed to be convivial gathering spots for an intellectual and cultured clientele. We are reminded that the artist Ryūu was active in such circles, and was a close friend, for instance, of Natsume Sōseki (1867–1916), one of the most eminent writers of the day.Shimazaki Ryūū was born in Edo, scion of the family of a Confucian scholar. As a youth he was trained in Chinese classical literature and calligraphy—and earned renown as one of the most talented calligraphers of all Nihonga artists. He briefly studied Yōga (Western-style painting) beginning in 1879 but soon switched to Nihonga and received training under Matsumoto Fuko (1840–1923) and Kawabata Gyokushō (1842–1913), both Tokyo-based painters in traditional Japanese styles. Ryūu was best known for his bijinga and achieved renown for his carefully researched and accurate depictions of the kimono textiles that adorned his subjects. His submissions to the government sponsored Bunten exhibitions until around 1919 or so usually adhered to conservative styles and themes drawn from Chinese and Japanese literature or captured traditional Japanese customs and manners of his time.

Artiste

Shimazaki Ryūu

Né(e) à Tokyo, Japon

Shimazaki Ryūu: A Master of Delicate Beauty

Shimazaki Ryūu (島崎柳塢), born May 4, 1865, in Tokyo, Japan, passed away January 21, 1937, leaving behind a legacy as one of the most celebrated figures in Nihonga art – Japanese landscape and genre painting. His artistic journey began with Western painting instruction under Kawabata Gyokushi, but he swiftly embraced the traditions of his homeland, dedicating himself to mastering techniques honed by masters like Matsumoto Hakō and Kawabata Gyokushi. This dual influence resulted in a distinctive style characterized by exquisite detail and refined elegance, capturing fleeting moments of beauty with remarkable sensitivity.

Early Life and Artistic Training

Ryūu’s formative years were imbued with an unwavering passion for art. Studying under Kawabata Gyokushi instilled foundational knowledge of Western aesthetics—a crucial step toward understanding broader artistic concepts—while subsequent mentorship from Matsumoto Hakō and Kawabata Gyokushi solidified his grasp of Japanese artistic principles, emphasizing harmony and naturalism. Recognizing the importance of formal education, he joined the Japan Art Institute and actively participated in exhibitions, demonstrating a commitment to sharing his vision with fellow artists and engaging with the wider artistic community. His dedication was rewarded with prestigious awards at the Japan Art Institute—two Third Prizes and three Commendation Certificates—affirming his talent and securing recognition for his contributions to Nihonga’s evolution.

A Distinctive Artistic Style

Shimazaki Ryūu's signature style revolved around meticulous observation and masterful execution, reflecting the core tenets of Nihonga. He skillfully employed mineral pigments and organic materials – a deliberate choice that honored tradition—onto silk or paper, achieving luminous surfaces capable of conveying subtle nuances of color and texture. His paintings frequently depicted women in serene landscapes, portraying them with grace and dignity; these compositions were imbued with an idealized beauty that resonated deeply with viewers. Recurring motifs included cherry blossoms, cranes, and misty mountains – symbols laden with cultural significance—reflecting the profound connection between Japanese art and nature. Notably, Ryūu’s work drew inspiration from Kanō School techniques, acknowledging the influence of older masters who championed similar approaches to pigment and composition.

Notable Works and Recognition

Among Shimazaki Ryūu's most enduring achievements were his celebrated depictions of women nestled within tranquil landscapes—pieces that exemplify Ryūu’s artistic prowess and capture the essence of Japanese aesthetic ideals. His unwavering commitment to craft resulted in numerous awards at exhibitions, including two Third Prizes and three Commendation Certificates from the Japan Art Institute, cementing his reputation as a gifted artist. Furthermore, he served as a respected member of the Japan Art Association, contributing to its intellectual discourse and furthering the advancement of Japanese art through active participation in artistic discussions and critiques. His influence extended beyond individual artworks; Ryūu helped shape the trajectory of Nihonga itself—a testament to his role as a pivotal figure in shaping Japanese visual culture.

Legacy and Influence

Shimazaki Ryūu’s contribution to Nihonga transcends mere stylistic innovation; he established a standard for excellence that continues to inspire artists today. His meticulous attention to detail and masterful use of color—characteristics that define his distinctive style—served as a model for subsequent generations of painters. He remains an exemplar of Japanese aesthetic sensibility—a testament to the transformative power of artistic vision to convey beauty, tranquility, and profound cultural understanding. His enduring legacy secures his place as a cornerstone of Japanese art history, ensuring that his work continues to captivate audiences and illuminate the richness of Nihonga’s artistic heritage.

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L'artiste Shimazaki Ryūu wahooart.com/fr/artists/shimazaki-ryuu_fr/
Œuvres similaires D'autres œuvres à comparer wahooart.com/fr/art/similar/shimazaki-ryuu-cafe-waitress-jokyu-D2TUYW-en/

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Code QR renvoyant à la page de téléchargement de Café Waitress (Jokyū)

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Citer cette œuvre

MLA: Ryūu, Shimazaki. Café Waitress (Jokyū). 1910, https://wahooart.com/fr/art/shimazaki-ryuu-cafe-waitress-jokyu-D2TUYW-en/
APA: Ryūu, Shimazaki (1910). Café Waitress (Jokyū) [Painting]. https://wahooart.com/fr/art/shimazaki-ryuu-cafe-waitress-jokyu-D2TUYW-en/
Chicago: Shimazaki Ryūu. Café Waitress (Jokyū). 1910. https://wahooart.com/fr/art/shimazaki-ryuu-cafe-waitress-jokyu-D2TUYW-en/
Harvard: Ryūu, Shimazaki (1910) Café Waitress (Jokyū). Available at: https://wahooart.com/fr/art/shimazaki-ryuu-cafe-waitress-jokyu-D2TUYW-en/

Café Waitress (Jokyū) — Shimazaki Ryūu

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Shimazaki Ryūu avait environ 45 ans lors de la création de cette œuvre. Quels éléments témoignent du travail d'un artiste à ce stade de sa carrière ?
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